This was the case with my script Between Heaven and Hell, which resulted in demands for major changes. If I'd known such a request was coming, I would not have optioned the script to this producer. Indeed, when the producer wrote, "We look forward to selling the script," I thought that meant my script, not a script changed in major ways.
But Between Heaven and Hell was optioned because the producer really liked two things about it: Nicole; and the scam that Nicole is running.
That was pretty much it. The convoluted, suspenseful tale of multi-blackmails that I had crafted so carefully was too complex; the protagonist was too timid, not flashy enough; in fact, little in the script seemed to interest the producer except Nicole and her scam.
At this point I could have quit -- and let another writer take over, making the changes that the producer wanted. But I decided to stick it out. One reason is that once you accept the producer's contention that Nicole and the scam are the most interesting parts of the story, then certain problems appear because there are so many things in the story that take focus away from this. The major revisions, then, were all aimed at bringing Nicole more centrally into the story -- and this also meant emphasizing her relationship with the protagonist, the English professor.
What resulted is obviously a very different script, Earthly Desires. Here are some of the major differences between the two:
There were other changes, but these are the major ones. Again I emphasize that every single one of these changes came from the producer, not from me. Only one change really upset me -- making Bert 30. However, I did rewrite the script that way just to show the producer that this was too radical a change, even the scam wouldn't work then. I was right and after he saw the script, the producer realized that Bert had to be 50. Now and again, the screenwriter wins a skirmish, though the producer always wins the battle.
So which script is best? They now are so different, this is like comparing apples and oranges. I'm not sure which one I like best. The agent who handled the sale definitely likes the original version best.
This was not totally a pleasant experience, as you can well imagine -- but I do like Earthly Desires, so the experience wasn't all bad. (By the way, the producer hated the original title with a passion. I still prefer it.) I just see these two scripts as very different projects, despite what they share in common.
The major changes that happened in this process are not untypical. What the screenwriter must realize is that once a producer enters the picture, and later a director, and later actors, there are going to be other sensibilities to satisfy. In fact, the sensibility of the writer, who originated the project, often becomes the least important concern of all.
This is why David Mamet said that collaboration in Hollywood really means ... bend over!
7/00